Seeing the lighted catwalk set up in the crowded auditorium gave me a sense of nostalgia.
There was a time when catwalking was a day’s work for the media fraternity. The catwalk was an integral part of multiple fashion weeks and shows sprinkled throughout the yearly fashion calendar. But now, with the local fashion industry facing a fickle economy and a lack of sponsors, catwalk appearances are rare.
Credit goes to the Trade Development Authority of Pakistan (TDAP) for ensuring that the textile-centric TEXPO 2024 has a two-day “fashion week” on its roster. Many foreign buyers come from primarily mediocre textile backgrounds rather than being foreign. Global fashion industry — attended the event.
Even if most of our visitors are not specifically in the fashion field, we always hope that seeing the work of some of the country’s finest ateliers will inspire them to order ready-to-wear, embroidery, local fine fabrics and more. Masu. But things like this rarely happened before and knowing this, one always has hope in these disgusting times when the world may see Pakistan as violent and full of terrorism. rely on At the very least, this program will be able to project a “soft image” of this country.
I like the soft image. There are no soft but unattractive images. My problem is promoting the image of sloppy, incomprehensible clothing presented under the guise of “high fashion.”
A sense of déjà vu lingered throughout the two-day fashion show, and not necessarily in a good way. There were some great collections in a lackluster and forgettable lineup that seemed to have been put together in a hurry.
But let’s start this analysis with a collection that stands out.
The Pink Tree Company presents a fall capsule that ranges from whimsical and easy-going white cotton tunics and trousers, made in bead-embellished kadar, to crushed, block-printed marmals and woven jamdani. She showed off her serious fashion flair with a variety of designs, ranging from exquisite types of formals. .
All white clothing is “dedicated to the oppressed” around the world. The models wore Pashteen hats, and the costumes had various people’s faces and most famous quotes engraved on them. There were many noteworthy items, including handmade brass jewelry created by Saima Haq and cute bags created by Adeela Sulaiman of Oddbird Art. Clearly, a lot of attention was paid to the details that make the collection stand out.
Similarly, designer Zainab Chottani has gone all out with a range that stands out for its exquisite use of kantha threads and vibrant color combinations. Leaves, tree stumps and intertwining vines, symbolizing the Tree of Life, are spread across the designer’s pure silk, raw silk and chiffon canvases, embroidered onto statement jackets and tunics, and amplified by bright color blocks.
The clothes were a testament to Zainab’s influence as a designer. She has used her strengths – color, texture, embroidery and fusion cuts – to create a range that is very cohesive, very flattering, and very memorable. The show also featured a number of funky jewelry pieces. These are all part of a new line launched by Vaneeza Ahmed, a former model who was also Zainab’s star.
Zainab Chottani may not have realized it, but her show also unintentionally sent a message to her industry peers. Just because a collection is being shown on the catwalk doesn’t mean you have to do something stupid and try to make a British dress. .
Most of the time, what is supposed to be ‘avant garde’ just looks like an ugly desi ‘Goan’ instead of a cutting edge gown. By working on what you do best and what sells best, you may be able to put together an outstanding show.
While the much-awaited lesson is over, another fascinating collection has been proposed by Fahad Hussain. This was the designer’s “Faction” line, an edgy and fun counterpoint to his heavier bridal offerings, and it was the individual pieces, rather than the overall design, that caught the eye.
For example, a black quilted jacket with a roaring bejeweled tiger on the back stood out more than the flashy, highly experimental short dress it was paired with. The handbags were gorgeous, as were the capes, lightly embroidered men’s tunics, faux fur shirts and pants, and statement jewelry.
Hussein excels at providing a fashion experience rather than simply presenting clothes, and this lineup exemplifies that. Everything from the clothes to the bags to the jewelry was made in-house, and the styling and music, created by Hamza Bandei, were carefully curated.
As someone who has seen Fahad’s work over the years, I know his passion for design, but even those who don’t know the designer’s journey can appreciate his work, which includes the occasional fashion show and frequent photo shoots. I have to admit that it’s great. It’s not just a way to sell clothes, it’s a work of art.
The rest of the lineup was hit-or-miss, usually with more hits and fewer misses. Using appliqué, embroidery, and prints, Shamael Ansari created a collection that fits the export-centric mission that the TDAP show ideally follows.
Sanam Chaudhry offered gorgeous gowns with dazzling beaded tassels and embroidery, as well as super cool pants and jackets.
Sania Maskatiya’s printed co-ords and dresses were cute, but they would have been even more memorable if they hadn’t become so ubiquitous thanks to the slew of imitators who have copied them over the past six months or so.
Humayun Alamgir’s suits were also carefully sewn, although he preferred occasional prints and colors to black and white tuxedos.
But some wonder if much of the collection shown on the catwalk was put together in a hurry. News of this event had only broken out about four weeks ago. Designers may have struggled to come up with entirely new lineups while meeting the needs of patrons and meeting deadlines for seasonal collections.
There was barely enough time to come up with a consistent and original lineup and figure out the details of styling and accessories. In this scenario, would most designers just churn out designs that were already in stock? Maybe so. A lot of the collections just wanted to dazzle and just satisfy a little bit.
But let’s move on to the many things that weren’t even satisfying. There was a yawn-worthy show by high street brands rolling out all of their seasonal stock in stock. There was a leather brand that hit audiences day after day with not one, but two low-key lineups. There was a designer who had a student’s desire to experiment, as if designing costumes from a science fiction movie.
Some went to display their wildly sewn clothes at a show that was supposed to be aimed at exporters from all over the world. And then there was the collection, which leans toward the macabre, with mostly unfathomable clothing.
Sure, there were a few models who danced and a few high-profile celebrities, but there’s no doubt that fashion requires more than Tamasha.
I could name a lot of people who ended this case, but that would just lead to disaster. So let’s move on to what TDAP could have done to improve this show.
Certainly, the authorities cannot barge into the ateliers and sway some sense into the masses of so-called designers who infiltrate the local fashion industry. But what they can do is have more insight into who they include in the lineup.
During the fashion council’s heyday, editing a collection was considered an important step in show curation. Why couldn’t they have compiled a collection for this show as well? A day dedicated to high-end, trend-setting fashion, when apart from a few good men and women, everything else is lackluster or worse? It would have been much better than the two days it was.
This is even more important since there are very few fashion events taking place at the moment. TDAP has a responsibility to celebrate the best of Pakistani fashion. Because it is not only watched by tourists from all over the world, but also eagerly watched by local customers.
Similarly, in the current lack of fashion shows, designers need to ensure they put together memorable, consistent and creative collections when presenting their work.
I appreciated that the show ended early in the night instead of running late. Gogi by Hassan Riaz handled the choreography well enough, but I missed seeing some familiar faces in the modeling pool. However, there were some very famous models who took center stage as they were chosen by the designers to wear the best costumes.
Media from major publications across the country were present to watch the show, and media from outside Karachi also arrived by air. The organizers did their best to maximize the mileage of the show.
I also appreciate the effort invested in Pakistani fashion when most others don’t seem to care. After the first day of the show, someone complimented me and said, “At least there’s a catwalk.”
Well, in these tired times when sponsors are scarce and some of the best ateliers in the country are lumped together into a single lamp with a miserable atelier, at least we have it. At least I got to see the catwalk.
Perhaps a beggar cannot be a chooser.
First published in Dawn, ICON, November 3, 2024
